The Well-Tempered Ear

Classical music: After 20 years, the Wisconsin Baroque Ensemble still delivers performances to relish of Baroque vocal and instrumental music

November 28, 2017
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photographs.

By John W. Barker

On Nov. 26, 1997, the Wisconsin Baroque Ensemble gave its first public performance.

On Sunday afternoon, exactly 20 years later to the very date, the group (below) presented a concert at St. Andrew’s Episcopal Church in honor of this distinguished anniversary.

This ensemble is the longest-lasting, still-continuing group in Madison devoted to early music. Despite the arrival three years later of the Madison Early Music Festival, the WBE gave the very first start to building an audience here for this literature. (You can hear a typical concert in the lengthy YouTube video at the bottom.)

Working under Sunday afternoon time pressures, the group offered a particularly rich and diversified program, employing a total of seven performers: one singer, mezzo-soprano Consuelo Sañudo, with instrumentalists Brett Lipschutz (traverso flute), Monica Steger (recorder, traverse flute, harpsichord), Sigrun Paust (recorder), Eric Miller (viola da gamba), Max Yount (harpsichord), and founder Anton TenWolde (cello).

There were nine items on the program.

Sañudo (below) had in some ways the amplest solo role, singing five pieces: a cantata aria by Luigi Rossi; a long cantata by Michel Pignolet de Monteclair; a late villancico by Francisco de Santiago; and two particularly lovely songs by Jacopo Peri.

All these she sang with her usual devotion to textual as well as musical subtleties—making it a little sad that the provision of printed texts could not have been managed.

One solo sonata by Benedetto Marcello was for recorder and continuo, while one double sonata (below), a particularly delightful one by Georg Philipp Telemann for two recorders, and another one by the obscure Jacob Friedrich Kleinknecht rounded out these ingredients.

Along with continuo assignments, Eric Miller (below) played an extensive viol da gamba suite by Marin Marais.

Active in his own varying assignments, Lipschutz (below) bubbled with skill and charm in a set of variations for flute on a Scots folk melody, taken from a published collection credited to a mysterious Alexander Munro.

The program pattern was generally familiar, with each of the performers having a say in the choice of selections, notably their particular solos. In this sense, the group acts as a collective, as TenWolde likes to say, rather than an operation exclusively shaped by him.

As it has been defined and employed over two decades now, this organizational format has given so much for both performers and audiences to relish.

But, to be sure, there is more to come. So we will check back in another 20 years.


Classical music: The venerable Wisconsin Baroque Ensemble opens its 18th season with fabulous Baroque music fabulously played. Plus, pianist Joyce Yang gives a FREE and PUBLIC master class Wednesday afternoon.

October 13, 2015
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ALERT: Late news comes that pianist Joyce Yang will give a FREE and PUBLIC master class for the UW-Madison School of Music on Wednesday from 4 to 6 p.m. in the Play Circle of the Wisconsin Union Theater. On Thursday at 8 p.m. in Shannon Hall of the Wisconsin Union Theater, Yang will perform a solo recital of music by Domenico Scarlatti, Claude Debussy, Isaac Albeniz, Alberto Ginastera and Sergei Rachmaninoff. For more information about Joyce Yang, the concert and tickets, visit:

http://www.uniontheater.wisc.edu/Season15-16/joyce-yang.html

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT-FM 89.9. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

The Wisconsin Baroque Ensemble (below) opened its new season in Madison with a fine concert at the Gates of Heaven on Saturday night.

Wisconsin Baroque Ensemble 2014

As always, the program was varied in contents and in performer involvements.

Running as a thread throughout was the artistry of University of Wisconsin-Madison School of Music professor and soprano Mimmi Fulmer (below center left, in a photo by John W. Barker) and mezzo-soprano Consuelo Sañudo (below center right), a familiar team.

At intervals, they sang a pair of madrigals by Girolamo Frescobaldi (most familiar as a keyboard composer); an extended setting by Marc-Antoine Charpentier of the Miserere Psalm, with concluding lines added from the Lamentations of Jeremiah; and an Ave Maria by the really obscure Dutch composer Benedictus Buns (c.1642-1716), also known as Benedictus a Sancto Josepho.

WBE Fulmer and Sanuda JWB

The instrumentalists (Nathan Giglierano, Mary Parkinson, violins; Brett Lipshutz and Monica Steger, flutes; Eric Miller, gamba; plus cellist Anton TenWolde and Max Yount, harpsichord, as continuo) joined with them variously as appropriate, to lovely effects.

Wisconsin Baroque Ensemble composite

At one extreme of texture, violinist Perkinson, supported by continuo, played a richly demanding sonata by Johann Heinrich Schmelzer. At the other extreme, all the players joined in for a vivacious finale with excerpts from the Suite in E minor from the first book of Georg Philipp Telemann’s Musique de Table (Tafelmusik) anthologies.

For me, however, and I think for a lot of the good-sized audience, the real high point of the program came just after the intermission, when the two violinists, with continuo, gave an absolutely smashing rendition of the Follia Sonata, the last of the 12 Trio Sonatas, Op. 1, by Antonio Vivaldi. (Below in an ensemble shot by John W. Barker.)

WBE plays JWB

In this tour de force of writing, Vivaldi surpassed his model, Arcangelo Corelli’s Violin Sonata Op. 5, No. 12, whose 19 variations, cascade one virtuosic extravagance after another. (You can hear the Vivaldi’s “La Follia” sonata in a YouTube video at the bottom.)

Fabulous Late Baroque music, fabulously played!

The WBE has been giving these concerts for the past 18 years. They continue to be unpretentious but thoroughly satisfying programs of Baroque chamber music in an appropriate chamber setting. Long may they continue!

The group’s next concert in Madison will be on Sunday, Nov. 29, at St. Andrew’s Episcopal Church.

For more information visit: http://www.wisconsinbaroque.org


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